An extremely popular raga, this has two versions. One is serious with the movemets that emphsasise the upper tetrachord and is a favourite of the singers from the Dhrupad tradition. The other one, despite its movements in the middle or lower octave, flaunts a lively persona preferred by khayal and lighter genres of music such as thumri, ghazal etc. The Carnatic version of Jhinjhoti, though similar to Cenjuriti, it is very different in its exposition.
Thhaat (parent scale)
Khamaj
Jaati:
Sampoorn (heptatonic)
Vaadi:
Gandhar (G)
Samvaadi:
Nishaad (N)
Swaras:
Employs Komal Nishaad (n) in ascent and descent, rest shuddh swaras
Aaroh (ascent):
S R G M P D n S’ (Western Notes: C D E F G A A# C)
Avaroh (descent):
S’ n D P M G R (Western Notes: C A# A G F E D C)
Key phrases:
D.S, R M G, P, M G, S R n.D.P.D.S, R M G, R M P D M G, S R G, S n.D.P., P.D.S
Time:
Night (before midnight)
Some musicians also use Shuddh Nishaad (N); but the version with Komal Nishad (n) is the most popular version of this raga which is very close to Khambaavati. The phrase D.S,RMG,SRn.D.P.D.S sets it apart from other melodies. Its intrinsic mood of surrender can be interpreted both as devotional and romantic.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
3. The Raga-ness of the Ragas by Deepak Raja
4. Abhinav Geetanjali by Pandit Ramashreya Jha ‘Ramrang’
Links
1. Ustad Abdul Karim Khan (vocal)
2. Ustad Faiyaz Khan (vocal)
3. Pandit Shivkumar Sharma (santoor)
4. Ustad Shahid Parvez (sitar)
Anupama Bhagwat (sitar) performs Raag Jhinjhoti at Darbar Festival 2013 with Gurdain Rayatt (tabla).
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